I draw a weekly comic strip called Life in Hell, which is syndicated in about 250 newspapers. That's what I did before The Simpsons, and what I plan to do for the rest of my life.
Well, I'm always working on my comic strip and trying to, you know, keep cranking that out.
Looking back Little Lulu was an early feminist, but at the time I just thought she was a really feisty developed comic strip character.
I say, if you believe what you read in the comic strips, then you believe that mice run around with little gold buttons on their red pants and drive cars.
Amazingly, much of the best cartoon work was done early on in the medium's history. The early cartoonists, with no path before them, produced work of such sophistication, wit, and beauty that it increasingly seems to me that cartoon evolution is working backward. Comic strips are moving toward a primordial goo rather than away from it . . . Not only can comics be more than we're getting today. but the comics already have been more than we're getting today.
While editors and newspaper owners currently fret over shrinking readership and lost profits, they do the one thing that insures cutting their own throats; they keep reducing space for the one feature that attracts new young readers in the first place; the comic strips.
Fortunately, I'm able to make a living from comics, so I'm privileged enough to be quite choosy, though most cartoonists can't afford to be. It's really an uncomfortable situation, since I'm not an illustrator, though I do get calls from morally indefensible businesses offering me money to decorate their ambitions. It's extremely rare, almost unheard of, in fact, that I am asked to do a comic strip. Do writers get calls to pen Toyota advertisements? Do composers get asked to write chamber pieces about exercise machines?
Comic strip is almost like music on a page that you perform in your mind. It's not just pictures. There's a particular rhythm and structure to it that is unlike anything else. It literally is like music. You hear it in your mind as you read it.
Anyone dumb enough to get his political information from a comic strip deserves what he gets at the polls.
There's a rhythm to the words combined with the pictures [in a comic]. Whenever I'm working on a comic strip I re-read it, probably hundreds of times through to pay attention to how all of those things work. Sometimes even changing the angle of a character's eyebrow can really, seriously alter the effect and overall interpretation of a scene. And the insertion of a pause or a cough or a sniff, and all these things that we do in conversation, can bring it to life in a strange way.
What is a body that casts no shadow? Nothing, a formlessness, two-dimensional, a comic-strip character. If I deny my own profound relationship with evil I deny my own reality. I cannot do, or make; I can only undo, unmake.
"Real" drawing is about specifics. It's about describing an object as accurately as possible. In a comic strip you have to draw a picture of the idea of the object. You have to draw the word that you are picturing, then you have to mix in specifics with it for it to work as a story. But you are still working with drawn words.
A stand-up comedian faces the audiences and gets their immediate feedback. I hide behind the comic strip, and unless people write to me, I dont know what they think.
I wanted to do the comic strip. I tried to get it syndicated, and I sent some examples to a syndication company, and they sent me a rejection letter! I wasn't smart enough at the time to realize you shouldn't let rejection letters stop you. I thought that rejection letter meant I was not allowed to be a cartoonist in this world, so I put the rejection letter down and said, well, I'll be a stand-up comedian.
Gamma rays are the sort of radiation you should avoid. Want proof? Just remember how the comic strip character "The Hulk" became big, green, and ugly.
Through my newspaper comic strip, public speaking, and filmmaking, I try to tell as many people as possible, of all ages and from all walks of life, that we are destroying the ocean at such an alarming rate that we can't wait for a systematic solution. We can't wait for our political leadership to warm up to the idea, and we can't wait for the free market to find alternatives. We must act as individuals, now.
The comic strip is what I looked at, and it's another reason I did it. The comic strip, where animals would comment on human behaviour, interested me.
I've always just loved drawing and loved cartoons. Growing up, I loved Disney films, I loved The Simpsons, and I was a big fan of the comic strip Calvin & Hobbes and the way that they would have weird fantasy and then down-to-earth funny character comedy.
Bechdel Test, was named for the comic strip it came from, penned by Alison Bechdel - but Bechdel credits a friend named Liz Wallace, so maybe it really should be called the Liz Wallace Test...? Anyway, the test is much simpler than the name. To pass it your movie must have the following: a) there are at least two named female characters, who b) talk to each other about c) something other than a man.
An idea is a light turned on in a man's soul. Comic-strip artists are in the habit of representing it by means of a light bulb flashing on, above the head of a character who has suddenly grasped an idea. In simple, primitive terms, this is an appropriate symbol.
I imagine as long as people will continue to read novels, people will continue to write them, or vice versa; unless of course the pictorial magazines and comic strips finally atrophy man's capacity to read, and literature really is on its way back to the picture writing in the Neanderthal cave.
I think in daily newspapers, the way comic strips are treated, it's as if newspaper publishers are going out of their way to kill the medium. They're printing the comics so small that most strips are just talking heads, and if you look back at the glory days of comic strips, you can see that they were showcases for some of the best pop art ever to come out.
I started writing when I was 9 years old. I was like this weird kid who would just stay in my room, typing little funny magazines and drawing comic strips.
In America, there's a very long tradition of a comic strip that comes in newspapers, which is not true all over the world. To sell papers, they put color comics in. It's worked, up until now. Now these papers can't afford it. They always had minuscule ad budgets, and now the things which people probably read these papers for are gone.
In a comic strip, you can suggest motion and time, but it's very crude compared to what an animator can do. I have a real awe for good animation.
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